Why is the piece titled 'Disparity Cat' -
This print is titled 'Disparity Cat.' due to the synonyms derived from disparity, meaning a great difference. Through drawing, printing and painting I have wanted to elaborate on highly contrasting imagery in a literal format, though the composition has not been rendered in the centre of the composition due to the nature of the material, there has been an evident display of chiaroscuro. I wanted to exhibit a salient piece of imagery, bold in its nature due to the contrast of the shadows and the reciprocated design among the left to right.
The print portrays a sphinx cat, a symbol of inquisitive nature, mystification and strength attributes of which I find relevant to those who are visually impaired. The sphinx is adorned by a divided contrast, his eyes covered by a mask illustrating the reciprocal of the two chromatic tones. The blindfold has been an omnipotent component within the construction of a multitude of art works, referencing divination and mythology since the 15th century. The blindfold was worn by Lady Justice as a symbol of impartiality, connoting toward fairness to all regardless of disputes and rivalry. In the case of 'Disparity Cat.' the blind fold refers to the dichotomy of the conscious and unconscious; wearing the blindfold communicates a stasis... which is contradictory to the appearance of the third eye, therefore conjuring an oxymoronic perspective. The focal point of the composition protrudes from the forehead of the sphinx, the third eye. The third eye is a symbol of reawakening and rebirth, establishing oneself as a trans figurative form. I find this print to be somewhat of a mascot to the visually impaired, a symbol of rejuvenation through a different lens.
Relief methods of printing such as linoprinting are essential in regards to the basis of my project. Providing a tactile platform in which a visually impaired audience can navigate is of great importance, alongside exhibiting works which display vivid colour and bold, linear based illustrations, to be mounted and easily observed by those who have a visual ailment.
Prior to this project I had little experience in Lino printing and didn't especially enjoy the process as I found it tedious and hard to control. In the past I had gauged too much linoleum resulting in the plate to tear from excessive abrasions to the surface, as well as a confusion as to what I was printing and having to recall what sector I should refrain from carving and such. Fortunately I began designing my work over paper rather than straight over the linoleum, allowing room for error. Upon designing the print on paper, I then utilise the carbon print method in transferring my design to the linoleum. I have learnt that I should not mark areas of printing prior to the carbon application, due to chalk going all over the linoleum; instead I am to only transfer the line drawing over to the matrix. Luckily, chalk can be easily removed from linoleum so excess is not an issue. Once transferred I then mark up the areas that will be kept (black) and avoid the whites. Using smaller blades has worked tremendously in carving the linoleum as I have acquired a better sense of control both mentally and literally over the Lino. I find soft cut Lino, as the name implies to be easier to gauge into, but control is limited as the surface is more slippy and malleable. Though it requires warming, the harder Lino backed with hessian portrayed greater success as the hessian provides further assurance toward stability and mildly controls the malleable nature of the linoleum.
Displayed below are a series of a5 (a4 paper) prints I found this particular block to be quite easy to print given the scale of the design and the amount of raised Lino exposed. I intend to print this block more, over the continuation of James' module; printing over different coloured papers in order to contract more variations of the print, I may also endeavour to print among different surfaces such as fabrics or wood, to further elevate the piece, and see how one variable such as the surface can impact the quality of the print. During the printmaking process I had experimented with backgrounds, following quite a graphic route, mildly influenced by Jan Tschichold and Josef Müller-Brockermann. Overall I am quite content with these prints as they have been one of my more successful series to have created.
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